King Spawn #56 marks the continuation of a new era for the Spawn titles, as Matthew Rosenberg has taken over writing duties on both this title and the main Spawn book. Rosenberg’s also introduced an intriguing status quo: the forces of Heaven and Hell have departed Earth, leaving mankind on the brink of chaos. On top of that, teenager Hudson Hill has been plagued with visions of Spawn jumpstarting the apocalypse, and decides to find the hellish antihero before it happens. Hudson is quickly learning that he’s getting more than he bargained for, as a serial killer wearing a Spawn costume is about to kill him!
It’s in this issue that the differences between King Spawn and Spawn become more pronounced. While Rosenberg is exploring the major fallout of Heaven and Hell’s departure in the main Spawn title, King Spawn feels grittier and more down to Earth…or at least down to Earth in a realm where demons, angels, and vampires exist. I’ve always felt that if a comic book character is going to carry two or more titles, there should be a key difference between them and thankfully Rosenberg seems to follow that same train of thought.
Rosenberg also tackles the thorny issue of how Spawn’s actions have unintended consequences that often prove to be deadly for others. While Todd McFarlane introduced Al Simmons as a tragic figure, he also didn’t shy away from how Spawn’s rage left a trail of bodies in his wake. With the rise of serial killers dressed as Spawn, Rosenberg continues that train of thought, and hints that Spawn’s actions are influencing others for good or ill. Perhaps one of the biggest “ripple effects” concern longtime supporting characters Sam and Twitch, not to mention the jaw-dropper of a final page that raises even more questions (and is bound to pull in longtime Spawn fans).
Art-wise, King Spawn #56 is somewhat of a mixed bag. Thomas Nalchik can definitely draw some gruesome imagery, as the pages are packed full of burnt corpses, knives dripping with blood, and a particularly gory moment where one of the Spawn killers gets smashed in the face with a baseball bat, shattering his mask and more than a few of his teeth in the process. Ivan Nunes’ color art is also worth shouting out, as the blend of shadows, bright red blood spatters, and reddish-orange explosions makes for an arresting tableau. So does Andworld Design’s lettering, as we shift from Spawn’s signature captions to a dark blue hue representing Hudson’s inner thoughts.
Where Nalchik stumbles is in depicting certain close-ups and proportions. A panel focusing on Hudson’s eyes widening with fear as his life is in danger is impactful. A moment where Sam is barking orders at other cops isn’t, as the angle makes it feel somewhat deformed. Art is built on preference, so some people may like this approach while others are mixed on it. I can say that I’m in the latter camp, but then again I’ve seen other artists refine their style over the years.
King Spawn #56 offers plenty of mystery, murder and intrigue as it continues to expand upon the new status quo of the Spawn universe. In the same vein as Jonathan Hickman’s Avengers and New Avengers, Rosenberg is using two titles to craft one story, yet makes sure both can stand on their own two feet.
